I chose to go wide with WordCrafter Press books. Let me tell you why.
- Although many authors use KU to increase their income from their books, since page reads may be more of a metric than sales are, but the price may be too high. Going exclusive limits what you can do with your Intellectual Properties. So even though I’ve maintained my rights for a book, I can’t include that book in a story bundle or box set elsewhere, if it’s in KU. I can’t even sell the book direct from my own website. Likewise, audiobooks published with Audible must be exclusive for at least one year and can’t be published elsewhere, not even on my own website.
- An author wants to reach as many potential readers as possible, increasing the chances of their book being discovered, so to me, it just makes sense to place your books with as many different book distributors as possible. This can be done on each individual platform directly, but the process is very time consuming, so an aggregator like Draft2Digital or Smashwords, (which have merged into one company), can be helpful in getting your book offered on multiple platforms.
- There are some readers who just plain despise Amazon, feeling that they are a monopoly, pushing the smaller companies out, so they won’t buy from them. there are also folks who use readers other than Kindle. By publishing exclusive, authors are not reaching readers who can’t or won’t buy from Amazon or their partners.
- Brick and mortar bookstores and libraries hate Amazon. And why shouldn’t they? Amazon is their biggest competitor. So, chances are, that if your book is only available on Amazon, you won’t be able to get these entities to even consider making your book available to their customers. If they check you out and see that you are advertising “Available on Amazon”, you aren’t going to make it through the doors. (That’s why I use the Books2Read links offered through D2D, where you can set it up so potential readers can find you on their favorite book distribution platform. Amazon is in there, but so are the other platforms like Kobo, Barnes & Noble, Apple Books, and Scribd, where my books are available.) Even if you have your books on multiple book distribution and library platforms, you still must put in the work to get availability in physical locations, which are excellent opportunities for discovery and gaining new readers.
- It just doesn’t make sense to me to “put all my eggs in one basket”. By going exclusive with Amazon, I would be excluding a large portion of potential readers. Publishing with D2D places WordCrafter Press books with most of your favorite book distributors, including Barnes & Noble, Rakuten Kobo, Apple, Scribd, Amazon, Thalia, Indigo, Mondadori, and Vivlio, as well as Baker & Taylor, Overdrive and other library lists. Of course, being on the lists for libraries and bookstores don’t get your books into the brick and mortar establishments, you still have to work to build relationships with the real people who are found there, but without being on those lists, there isn’t any chance. And if I were to publish exclusive with Amazon those paths would be closed to me.
- As Derek Sivers – author, musician, entrepreneur and publisher – says on the May 16, 2022 episode of The Creative Penn podcast, “De-centralization is good. Amazon should not be the only bookstore.” And Sivers suggests that the way to work toward the goal of de-centralization is by training readers to look for your books in other places; other bookstores, libraries, or even direct from the author’s website.
Wide vs. exclusive is an ongoing decision among independent authors. Amazon has become the monster conglomerate that they are, because they are doing all kinds of things right. Most of us are not as anti-Amazon as Sivers, who instructs to send potential readers “anywhere but Amazon”. I can see the value in including Amazon in my wide distribution. Just as it doesn’t make sense to me to go exclusive, neither does it make sense to me to exclude the biggest bookseller on the block.
The fact is, even though I don’t like the pedestal Amazon has raised itself up on, and I don’t like the fact that their TOS isn’t always in the author’s favor, I can’t deny that shopping on Amazon is easy and convenient. Also, I read digital books on a Kindle device, and I hate learning how to set up and use new devices, so Amazon is where I get most of my digital content.
Now that I’ve told you my strategy, you tell me yours. Do you choose to have your books wide or exclusive? Why? Tell me your thoughts in the comments. Let’s make this more of a discussion.
Kaye Lynne Booth lives, works, and plays in the mountains of Colorado. With a dual emphasis M.F.A. in Creative Writing and a M.A. in Publishing, writing is more than a passion. It’s a way of life. She’s a multi-genre author, who finds inspiration from the nature around her, and her love of the old west, and other odd and quirky things which might surprise you.
She has short stories featured in the following anthologies: The Collapsar Directive (“If You’re Happy and You Know It”); Relationship Add Vice (“The Devil Made Her Do It”); Nightmareland (“The Haunting in Carol’s Woods”); Whispers of the Past (“The Woman in the Water”); Spirits of the West (“Don’t Eat the Pickled Eggs”); and Where Spirits Linger (“The People Upstairs”). Her paranormal mystery novella, Hidden Secrets, and her short story collection, Last Call and Other Short Fiction, are both available in both digital and print editions at most of your favorite book distributors.
When not writing, she keeps up her author’s blog, Writing to be Read, where she posts reflections on her own writing, author interviews and book reviews, along with writing tips and inspirational posts from fellow writers. In addition to creating her own very small publishing house in WordCrafter Press, she offers quality author services, such as editing, social media & book promotion, and online writing courses through WordCrafter Quality Writing & Author Services. As well as serving as judge for the Western Writers of America and sitting on the editorial team for Western State Colorado University and WordFire Press for the Gilded Glass anthology and editing Weird Tales: The Best of the Early Years 1926-27, under Kevin J. Anderson & Jonathan Maberry.
In her spare time, she is bird watching, or gardening, or just soaking up some of that Colorado sunshine.
Join Kaye Lynne Booth & WordCrafter Press Readers’ Group for WordCrafter Press book & event news, including the awesome releases of author Kaye Lynne Booth. Get a free digital copy of her short story collection, Last Call and Other Short Fiction, as a sampling of her works just for joining.
Since the beginning of this century, the publishing industry has undergone many changes at a very rapid pace due to the rise of digital technology and ebooks and the resulting swell of independent authors which has reshaped the way the industry operates. Traditional publishing houses have had a difficult time in adapting to these changes, which are transforming the playing field from being favorable to publishers into one more fair to authors. Trad. publishers are slow to adapt and their numbers are dwindling as they hang on to traditional practices that make little sense in this day and age. Just in the past five years we’ve seen the big 5 become the big 4, and in 2021 they merged into the big 3.
Many authors struggle with the decision of whether to self-publish or try for a traditional publishing deal, which could turn into an endeavor spanning years and your book may still not be published. Traditional publishing offers status and esteem when you can get it, but the road to a traditional publishing deal has many pitfalls and often ends in wrong turns and dead ends. It’s not easy to land a trad. publishing deal and there are no guarantees. This is nothing new. It has never been easy, but I think it’s harder than it used to be
When you take a good hard look at today’s publishing industry, you may find a few things which surprise you. I know I did.
Did you know…
- Advances offered by traditional publishing must be paid back before the author sees any of their royalties? That’s right. An advance is just that – payment of royalties in advance. And the royalty percentage offered by trad. publishers is considerably less than what indie authors receive, so it may take a very long time to pay out that advance, and if s book does not sell well, it may never pay out. Many self-published authors have opted for smaller royalty payments over the long haul, rather than one big chunk of money in the beginning that may never pay out any more than that initial advance payment.
- While a traditional publishing deal may still carry an advance with it, it seems the advance amounts have gotten smaller, as traditional publishers grow more unsure of your book’s ability to sell? While book publishers have always taken risks when signing a new author, with the rise of independent authors and publishers, there’s a lot more competition and publishers may be less confident of a book’s success, so they aren’t as willing as they once were to cough up the cash before the book has been proven. What’s more, they aren’t as willing to provide as much effort for promotion. In fact, trad. publishers today are looking at the reader platform, or fan base, that an author brings with them as well as their social media platforms, etc…, and they may expect authors to perform much of the marketing and promotion for their book. A small independent publisher which published my western novel, Delilah, but they did very little as far as marketing goes, and of course, there was no advance. I felt I could do better with it myself, which is why I chose not to renew my contract and will be re-publishing the book myself as part of the Women of the West adventure series.
- Traditional publishing created a return policy for bookstores and retailers that allows them to return print books at the publishers expense, which still applies today, effectively preventing independent publishers and authors from having their print books carried in brick and mortar bookstores? While print-on-demand has revolutionized the publishing industry, making it no longer be necessary for authors to create large or small print runs and stockpile books I’m their basement or garage, it is still a challenge for independent authors to get their books into bookstores due to the ridiculous return policy trad. publishers created for bookstores. Today, bookstores have played by these rules for so long that they have no desire to change the rules even though they should. You can read about the options when you publish through Ingram Spark here. There may be a work around if you can find an independent local bookstore willing to take your books on consignment, but for the most part, indie authors are limited to selling their print books online because of an outdated policy that never made sense in the first place. I mean, what other industry allows to retailers to return unsold products after a number of years for a full refund, potentially devastating the maker when the charge blindsides them unexpectedly?
- The time that you must wait for your book to go through the traditional publishing process could be two to three years or more from the time of signing, if you do manage to land a traditional publishing deal? Even after you have a contract, that doesn’t guarantee that your book will actually be published, and the publishing process is so long and tedious that your book could potentially be in limbo for years. Of course, that is not what happens most of the time, but it has happened. Children’s books take even longer to go through the publishing process. They can take up to five years or more. Imagine the disappointment of not being published after waiting years to get a trad. deal, and waiting even more years to go through the publishing process. This may be even more of a possibility with the instability of the traditional publishing industry today.
- Traditional publishers often ask for rights they never intend to use, and if you give them to them, you can no longer do anything with them? Traditional publishing contracts are not traditionally author friendly, often asking authors to throw in many rights that are unnecessary for the author to give up. For example, many publishing contracts ask for audio rights, even when they have no intention of publishing your book on audio. If these rights are maintained by the author, they can be licensed separately or used to produce their own audiobook through one of the many audiobook platforms available to authors today, but if they are included on your contract, the publisher can sit on them and the author will make nothing from them. That’s money left on the table that the author can’t touch. It is very important that authors know what they are signing and don’t sign away rights that they don’t need to.
Authors today have choices which authors of the past did not. We no longer have to go through the submission-rejection-resubmission grind for months or years to find someone else who likes your writing and might want to publish it. Today we can publish our works ourselves because we like it, and hopefully find others who like it too and will become fans and loyal readers. There are many authors today who choose to try the best of both worlds in some sort of hybrid combination that fits their needs.
I can’t see trying to beat a dead horse, and for me, I think that is what traditional publishing would be. Although making money from my books is always a goal, as I pointed out above, there are no guarantees that I would ever find someone who wanted to publish my book and, even then, there are no guarantees that it would actually happen, or that it would sell. I want people to read my books and that will never happen unless they are published. That’s why, for me, independent publishing will be the course that I choose. Which course is right for you?
Kaye Lynne Booth lives, works, and plays in the mountains of Colorado. With a dual emphasis M.F.A. in Creative Writing, writing is more than a passion. It’s a way of life. She’s a multi-genre author, who finds inspiration from the nature around her, and her love of the old west, and other odd and quirky things which might surprise you.
She has short stories featured in the following anthologies: The Collapsar Directive (“If You’re Happy and You Know It”); Relationship Add Vice (“The Devil Made Her Do It”); Nightmareland (“The Haunting in Carol’s Woods”); Whispers of the Past (“The Woman in the Water”); and Spirits of the West (“Don’t Eat the Pickled Eggs”). Her western, Delilah, her paranormal mystery novella and her short story collection, Last Call, are all available in both digital and print editions.
In her spare time, she keeps up her author’s blog, Writing to be Read, where she posts reflections on her own writing, author interviews and book reviews, along with writing tips and inspirational posts from fellow writers. She’s also the founder of WordCrafter. In addition to creating her own imprint in WordCrafter Press, she offers quality author services, such as editing, social media & book promotion, and online writing courses through WordCrafter Quality Writing & Author Services. When not writing or editing, she is bird watching, or hiking, or just soaking up some of that Colorado sunshine.
Sign up for the Kaye Lynne Booth & WordCrafter Press Newsletter for and book event news for WordCrafter Press books, including the awesome releases of author Kaye Lynne Booth. Get a free digital copy of Kaye Lynne Booth’s paranormal mystery novella, Hidden Secrets, just for subscribing.
Traditional publishing is fast becoming a dinosaur, being slow to adapt to the rapid technological changes which have arisen along side the rise of digital publishing within the industry. Independent authors and publishers have been flexible, creative and quick to adapt to digital technology which makes it possible for aspiring authors to test the waters without waiting around for years or even decades for traditional publishers to take notice and grace us with their attentions, while traditional publishers have been resistant to change, turning their noses up at self-published authors until their value as professional authors with the ability to produce books that sell by independent industry leaders like Hugh Howey, and been generally inflexible and unbending, continuing to follow publishing and marketing models which are no longer effective. The adaptions that they have made have been forced and have made the traditional publishing model even less appealing for authors.
- Better Royalties: Royalties on traditional publishing which the author receives are usually around 15% of sales, while independently published authors receive anywhere from 30-70%, depending upon which platforms they choose to publish on. And don’t forget that independently published authors who go wide rather than exclusive can always sell direct from their site and make even more.
- Negotiations: Traditional publishing contracts are awful and getting worse, according to Kristine Kathryn Rush, (https://kriswrites.com/2022/01/05/business-musings-contracts-traditional-publishing-the-year-in-review-4/). Deals may offer the author an advance, even this is not guaranteed anymore. And the ones that are offered are for lesser amounts than were previously offered in the past. Of course, traditional publishing deals have always been skewed in the publishers’ favor, and the book must earn back the advance before the author ever sees any additional royalties and an author whose book doesn’t sell well may never see any royalties past the initial advance. As Rusch points out, all things are negotiable and the publishing house no longer holds the reins. Smart independent authors manage their own Intellectual Property (IP), and they don’t EVER sign away all of their rights and leverage their writing to the author’s benefit.
- Decrease in Publisher Responsibilities: While in the past, traditional publishers were willing to invest in the marketing and advertising of books, it seems they have grown more reluctant to do so in today’s book market. Even if you do manage to land a traditional publishing deal today, you may still need to take on a large part, if not all, of the marketing tasks to sell your book. So while it is true that indie authors have to spend a large portion of their time on administrative and promotional tasks, publishing traditionally does not guarantee that this will not be necessary.
- Improved Product Availability: With the availability of ‘Print on Demand’ publishing, authors no longer need to make large expenditures on big print runs or make space to house vast numbers of book in their garage or basement, as was previously necessary with offset printing. Audiobooks are also becoming more affordable to produce with the rise of AI narration, which is now offered for free on Google Play Books. Lower prices and better availability of services for independent authors on a budget, make independent publishing an even better option than it has been in the past.
- Control: Independently publishing puts the author in control. Of course, with control comes responsibilities. I won’t deny that indie authors must wear many hats; author, publisher, self-editor, marketer, and maybe even cover designer, as well as “The Boss”. One lesson I’ve been learning recently, is that I can’t do it all, and I am having to wear “The Boss” hat more and delegate some of the other tasks to those better suited to do them, so that I can have time to put into my own writing. Marketing is a matter of trial and error a lot of time, and changing the cover or the blurb can make a big difference in how well a book sells. Independent authors are “The Boss” and when they see their book isn’t selling as well as they think it might, they have the ability to go in and change the cover or the blurb and see if they can’t turn things around, while if with traditional publishers, they may have their work cut out for them convincing their publisher to change something up to see if it sells better.
Kaye Lynne Booth lives, works and plays in the mountains of Colorado. With a dual emphasis M.F.A. in Creative Writing, writing is more than a passion. It’s a way of life. She’s a multi-genre author, who finds inspiration from the nature around her, and her love of the old west, and other odd and quirky things which might surprise you. In her spare time, she keeps up her author’s blog, Writing to be Read, where she posts reflections on her own writing, author interviews and book reviews, along with writing tips and inspirational posts from fellow writers. She is also the founder of WordCrafter Quality Writing & Author Services, providing editing, social media copywriting & book promotion, and online writing courses. When not engaged in writing activities, she is bird watching, or hiking, or just soaking up some of that Colorado sunshine.
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This series on publishing has been a lot of fun to create, and I hope maybe there are some of you who have read all of parts 1-9. I started it because I found that while those in my academic career seemed to be in favor of traditional publishing, with many instructors providing information about self-publishing as an option only reluctantly, while authors all around me were getting their work out there by self-publishing their books.
As I looked into the topic more, I found that some folks used the terms independently published and self-published as if they were interchangeable, while independent publishers are really smaller independent publishing houses that are not among the “big five” traditional publishers. As stated in Part 2, for the purposes of this series that is how I will refer to and view independent publishers.
One of the reasons I enjoyed writing this publishing series was that I am fortunate to know many authors, from all three publishing models, and I was able to gather many different viewpoints, examining it from all sides. Overall, I was able to obtain a pretty healthy balance between the three models. I interviewed self-published authors Jeff Bowles, Tim Baker and Arthur Rosch. In the traditional publishing arena, I talked with children’s author, Stacia Deutsch and historical and biographical author, Mark Shaw. I was only able to interview one independently published author, YA author Jordan Elizabeth, but to even it out, I also interviewed two independent publishers, Curiosity Quills Press and Caleb Seeling, owner of Conundrum Press. And for a nice rounded point of view, I spoke with my friend and children’s author, Nancy Oswald, who has published under all three models.
Now is the time to look at the series as a whole and see what conclusions can be drawn. While I think all authors secretly long for a traditional publishing deal, because being picked up by a major publishing house is ingrained in us as a symbol of success, I see independent publishing houses as a feasible alternative to holding out for the big boys, which can take a long time and for some of us, may never pay off. In some instances, debut authors have a better chance of being picked up by a smaller independent press. With both these options identifying markets which would be a good fit for your work, preparing submissions, writing cover letters and queries, synopsis and outlines will take up a lot of time which might be better spent on writing stories. Once accepted by either a major or a smaller publishing house, the author may be expected to do a good portion of the marketing and promotion, as well, although services such as editing and illustration may be provided.
The upside to signing with a traditional publisher is that the major publishing houses pay out an advance on projected royalties, so major money can be seen in your near future. Independent houses may also pay out advances, but they won’t be nearly as big, and some do pay out a higher percentage of royalties. Of course, as Tim Baker pointed out in Part 2, the flip side to collecting a sizeable royalty is if your book flops. It would be a drag to have to pay it all back. Independent houses may also pay out advances, but they won’t be nearly as big, and some do pay out a higher percentage of royalties.
For self-published authors, there are no advances, but they keep a higher portion of their royalties than with traditional or independent publishing houses. Still, there is no big money now, and no guarantee that there ever will be. Authors may be waiting a long time for their writing to pay off.
As Stacia Deutsch mentioned in Part 4 of the series, traditional publishers provide professional editing and illustrators, to be sure your final product is of good quality. I believe this is true of independent publishing houses, as well, but you won’t find it available through the self-publishing process; one reason self-publishing carries with it such stigma. Gatekeepers insure the book you put out will be the absolute best it can be.
Despite the stigma surrounding self-published authors, due in part to a few self-publishers who like to take short cuts in lieu of putting out a quality product, there are some very good self-published authors out there. As Jordan Elizabeth pointed out in Part 6, self-publishing has a lot to offer. Self-published authors have a lot more control over their work than traditionally published authors, who do not chose their own cover art, and may not even get to keep their own title.
As Jeff Bowles pointed out in Part 1, another possible advantage to self-publishing is the ease and relative inexpense for today’s authors. You can publish a book with Amazon almost for free, and collect either 35% or 70% of your royalties, depending on the price you place on your book. I can attest to this as it is what I did with my short story, Last Call, and it didn’t cost me one cent. At least that way, if my story doesn’t rise to the top of the best sellers lists, (which it hasn’t), I really haven’t lost anything. The important thing to remember when self-publishing is that you need to put out a quality product. It is worth it to find a good editor, and for all of us starving writers out there, an editor can be employed for a minimal expense. I also suggest utilizing a good critique partner when funds are low, but be sure to have some type of editing done, by someone other than yourself, before publishing your book.
Although Amazon has made publishing extremely easy and inexpensive for authors, they have also monopolized the industry and are making it more difficult for independent publishers, as Caleb Seeling explained in Part 8. Learn more about the negative effects Amazon has had on the publishing industry in the Institute for Local Self Reliance’s report, which emphasizes, from a consumer standpoint, the need to buy local and battle monopolization. If readers heed this warning and buy their books from local independent, or chain, bookstores right down the block, the publishing industry may change yet again.
Amazon’s monopolization affects authors and reviewers as well, as is discussed in What Amazon’s New Review Policies Mean for “Writing to be Read”. As much as Amazon’s review policies effect the reviewer, they also effect the authors who are depending on those reviews to get their books sold.
Author Mark Shaw gave us a heads up about vanity, or subsidy publishers, charging unsuspecting authors exorbitant fees to publish their work as Mark Shaw warns in Part 5. They prey on authors who desire to get their work published so bad that they are willing to empty their coffers to do so. These publishers can get outrageously expensive for authors, so don’t be drawn in. The kicker is that even if you publish on Amazon or Create Space in order to fit your budget, you still may need to spend quite a bit of time and/or money on marketing as Art Rosch tells us in Part 3.
Independent publishing houses, also referred to as small or medium-sized presses, work along the same lines as traditional publishers, but they don’t publish as many books each year as the big five do. In addition, they tend to be more specific in what they are looking for, with most having very specialized niches that your book must fit into to be published. Although all independent publishers may not follow this practice, publisher Caleb Seeling says he actually seeks out authors whose work fits into his niche. In any case, authors should be familiar with submission guidelines of the publishing house they are submitting to, whether large or small. In her article, How to Smartly Evaluate a Small Publisher, Jane Friedman, of The Hot Sheet, (the publishing industry’s news letter for authors), offers some great tips on what to look for.
In Part 7, Nancy Oswald points out one of the big advantages to publishing with a small press is the more personal relationship between author and publisher. Whereas a traditional publishing house may not be able to put a name with a face, independent publishers work closely with their authors because they only have a few at any one time. Independent publishers may also have a shorter wait time for publication than traditional houses, which can be quite lengthy.
And then there are the new kids on the block, like Curiosity Quills Press, which are hybrid publishers, offering various combinations of traditional percs with self-publishing author responsibilities. These small independent presses may charge authors for some services, like subsidy publishing, but they also provide a certain amount of author copies at no cost, provide author support, and the services they do charge for are optional. You can find out more about this new model of publishing in my post, Hybrid Publishers: What are they all about?
After hearing from the experts, it seems no matter which model you choose to publish under, there is still a lot of non-writing activities required of authors, including marketing and promotion, resulting in the need for Today’s Authors to Wear Many Different Hats. Of course, you can also do as author Jeff Lyons suggests in his interview with Arwen Chandler, and hire a third party to handle such tasks, so we, as authors can get down to the business of writing. The only problem I see with this is that you must make money before you can spend money, paying someone else to do the tasks that don’t come as naturally as writing does.
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Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 9): Interview with Curiosity Quills PressPosted: December 12, 2016
This series has looked at three models of publishing from every angle. We’ve heard from independent authors Jeff Bowels, Tim Baker and Art Rosch, and traditionally published authors Stacia Deutsch and Mark Shaw, independently published author Jordan Elizabeth, and an author who has published under all three models, Nancy Oswald. We’ve also heard from Caleb Seeling, the owner of the independent publishing house, Conundrum Press.
This week, we hear from a small independent hybrid publisher that specializes in genre fiction of the highest quality. I have been privileged to review two Curiosity Quills anthologies, Chronology and Under a Brass Moon. I have also reviewed several books by Curiosity Quills author Jordan Elizabeth, who we heard from in Part 7, and Keepers of the Forest by James McNally.
Founded in 2011 by Eugene Teplitsky and Alisa Gus, Curiosity Quills was created as a resource portal to help writers, such as themselves survive the publishing industry, and quickly morphed into a publishing press which today, has solidified it’s share in the market. They work with major retailers such as Amazon, Barnes & Noble and Audible, and publish six new titles every month. Curiosity Quills Press offers the some of the advantages of a traditional publisher and offers their authors a chance to participate in the publishing process.
Kaye: How did Curiosity Quills Press come about?
CQ: Back in early 2011, Alisa and Eugene were an aspiring author couple working on a little MG project called Gatecrashers. In an effort to build up our socials and gain a following prior to release, they created a blog called Curiosity Quills (which was nearly called Curiosity Kills… dodged a bullet there!). Throughout that year, many guest authors and industry pros were hosted on the CQ blog to share their stories, wisdom, and experiences with the world. Before they knew it, a sizeable community formed around the CQ blog – and A&E had the brilliant idea of being more hands on about helping the authors hanging out on the site. It wasn’t long before Michael Shean and Rod Kierkegaard, Jr. became the first published authors of Curiosity Quills Press. Unfortunately, this was also the death knell for Gatecrashers or any other further writing project for Alisa and Eugene – turns out running a traditional publishing house is a HUGE time-suck!
Kaye: What are the publishing goals of Curiosity Quills?
CQ: We have a number of goals at CQ, and these can be broken down into the following points:
- To bring the highest quality genre fiction to the masses, at affordable prices.
- To spotlight genre fiction that some traditional publishers might find too unconventional; instead of following genre trends and the mainstream in what is popular, we try to stay ahead of that, anticipating gaps in the market.
- To diversify genre fiction, by publishing stories featuring characters of all race, sexuality, gender identity, social standing etc. While we want to stay ahead of the mainstream, we also want to be inclusive and representative of the ever growing, expanding world we live in.
Kaye: What do you see as the advantages of independent publishing over traditional or self-publishing for today’s authors?
CQ: Independent publishing offers the best aspects of both traditional and self-publishing. On the one hand, we’re able to offer the highest standards of cover designers, editors, proofreaders etc. on par with any traditional press.
We also offer authors access to a wide rage of services, such as NetGalley and features on sale subscription sites like Book Bub. And, as with traditional publishers, we are always focusing our efforts to get our titles into chain bookstores, like Barnes & Noble, as well as selling the rights for our titles to audiobook publishers, and film companies.
But, unlike traditional publishers, we offer a closer, more family-like community for our authors, and try to involve them in the publishing process as much as possible, getting their input on cover design, marketing campaigns etc.
Because of our close-knit community, there are always over authors – at various stages in their careers – on hand to answer questions, help promote each other’s works, and collaborate with.
Kaye: How has the increasing trends in self-publishing affected the role of independent presses?
CQ: Authors want to be much more involved in the process, and on the whole, we’re more than happy to accommodate this. We view publishing as a partnership, where both the publisher and the author bring different things to the table.
As mentioned above, the close-knit community leads to a family of authors all striving together to make CQ the best it can be, which is something you don’t always find with self-published authors. While there is still a level of camaraderie there, all self-published authors are competing against each other, in ways authors of independent presses aren’t.
Kaye: What do you see as the future role of independent publishing houses within the changing publishing industry?
CQ: Independent publishing houses will continue to bring readers what they want, know and love, while also broadening their horizons and opening them up to a wealth of new stories that might get overlooked by the mainstream.
At the same time, independent publishing houses will strive to bring authors an experience they won’t get anywhere else in the publishing industry, with all the benefits of traditional and self-publishing, but less of the drawbacks.
I want to thank Clare Dugmore and Curiosity Quills for sharing with us here on Writing to be Read. I know they are busy people and I appreciate them taking the time to answer my interview questions. Next week I will follow up with conclusions on the series in Part 10 of Pros and Cons of Traditional vs. Independent vs. Self-Publishing.
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Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 7): Interview with Children’s Author, Nancy OswaldPosted: November 28, 2016
In this series, we’ve taken a look at the publishing industry, which today, isn’t played by the same rules as it was 30 years ago, when traditional or independent publishing houses were about the only options an aspiring writer had. The rise in digital and self-publishing has opened up new options for aspiring authors and changed some of the rules by which the game is now played. We’ve heard from self-published authors, Jeff Bowles, Tim Baker and Arthur Rosch, and traditionally published authors, Stacia Deutsch and Mark Shaw, as well as independently published author, Jordan Elizabeth.
In this week’s interview, we’ll hear from an author who has published work via all three publishing models, award winning children’s author, Nancy Oswald. She’s published traditionally with Holt, a big New York publisher, and a small independent publisher, Filter Press, LLC. In addition, her first book was published by Scholastic Canada, but she later rewrote it and self-published a Create Space version in 2013. Nancy’s Ruby and Maude Adventure series includes Rescue in Poverty Gulch, Trouble on the Tracks and her latest book, to be released this month, Trouble Returns. (Be sure and catch my review of Trouble Returns this Friday on Writing to be Read.) Her other publishing credits include Hard Face Moon, Edward Wynkoop: Soldier and Indian Agent, Nothing Here But Stones, and Insects in the Infield. And she has a very unusual story about how she broke into the publishing industry.
Kaye: When did you know you wanted to be an author?
Nancy: In my early teens, I thought writing children’s books would be really cool and I enjoyed writing—some poetry—but most of it school related. I didn’t get serious about publication until I was in my late twenties.
Kaye: Would you share your own publishing story with us?
Nancy: I wrote several books that I call my “cardboard cover” books for my stepson who was five when I married my husband. They were hand written and crudely illustrated and as you’ve probably guessed, had cardboard covers that were put together with rings that clipped through the pages and the cardboard and held the whole thing together. I did a couple of cardboard cover books for friends, too. But my stepson outgrew his “picture” books, so I started in on a chapter book. We lived in British Columbia at that time, so I mailed him the first chapter for Christmas and sent one chapter a month to him, finishing the book the next Christmas. This book was typed, yes on a typewriter, but still was a FAT cardboard cover book. After many many rewrites, this book became my first published novel for young readers. It had 35 rejections and was finally picked up by Scholastic Canada and five years later was reprinted by them. To this day, thanks to Scholastic’s book club program, it has outsold any of my other books.
Kaye: What do you see as pros and cons of self-publishing?
Nancy: In 2013, I self-published the above mentioned book. I’ve had the rights back since about 1996, so I rewrote the book, adding about 10,000 words and it ended up as a winner in the CIPA Evvy award competition. My likes: I really enjoyed having full control. I used Create Space and used their interior design service, but did the other parts myself. The Create Space team was accessible and helpful, and I had a really positive experience from beginning to end. A word of caution: you really need to have a clear idea of the design, font size, layout ahead of time. You have to be clear in communicating what you want. Negatives: Reviews were hard to get, ALL of the marketing is up to you, and if you don’t have a well-edited, professional looking copy, it will sink you